Timedance owner Batu has carved out a unique sound in a shockingly short space of time since his debut with Pinch’s Cold Recordings in 2013. Subsequent 12″s for Livity Sound, Hessle Audio and his own Timedance label have found him grounded in British bassbin principles yet pushing that prism in adventurous new ways that have become something of a signature aesthetic.
Batu and his tight-knit Timedance label continue to push the boundaries, putting Bristol firmly at the center of global bass-minded music culture. After a critically acclaimed 2016 for him and the label, he had a remarkable 2017, with outputs across his Timedance imprint, Hessle Audio, and appearing on Samphas official remix works through Young Turks.
Sets in North and Central America, the Far East, Asia and all across Europe (Berghain’s Panorama Bar, Concrete in Paris, Unsound Festival) lead Mixmag to rank Batu as one of the top 20 DJs of 2017, and The Guardian to tip him as one to watch for 2018.
EU / rest of the world: email@example.com + firstname.lastname@example.org
London’s Beatrice Dillon is a producer, artist and NTS DJ with acclaimed solo releases, remixes and collaborations across Hessle Audio, The Trilogy Tapes, PAN, Boomkat Editions, Timedance and Where To Now?. Recent performances include MUTEK Montreal, Dekmantel, Documenta Athens, Masåfåt Cairo, Moscow Save, Borealis Norway and Barbican Centre, London. She has collaborated with award-winning visual artists at ICA, Tate, Lisson Gallery, Southbank Centre, Centre d’Art Contemporain Geneva, Nasher Sculpture Dallas and Mona Tasmania amongst others. Dillon was the recipient of Wysing Arts Centre’s artist residency in 2016 and is a resident at Somerset House Studios, London.
Bonaventure is Soraya Lutangu’s nom de guerre. Under this alias, she has been developing sonic weaponry designed to confront oppressive power structures, tell the story of violence, indifference and abuse fuelled by racism, with Complexion released on NON Worldwide last year marking the prelude to her protest, fully expressed on Free Lutangu released via PTP.
She uses music as an identity research tool along with practical and speculative initiatives to connect her African and European roots and investigate human relationships.
A regular on Berlin Community Radio, Bonaventure has also made herself at home for several hours on London’s NTS. Her radio mixes bring disparate genres into smooth sequences she refuses to protect from abrupt collisions.
Born to Nigerian parents and based in Virginia, USA, Chino Amobi – alongside his counterparts, Congolese-Belgian, Nkisi, and Portuguese-South African, Angel Ho – forms NON: a collective of African artists, and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power.
Key releases, such as the critically acclaimed full length debut Paradiso, delivered via UNO NYC, followed up from the vital Airport Music for Black Folk released on NON, which presented a radical perspective on contemporary electronic music and impressions of the airport as an international space and yet a totally Eurocentric & Western manicured experience, in addition the Izlamic Europe collaboration with Rabit, all weaving music and politics in a way other artists of his generation didn’t and don’t dare, exemplifying his strengths in providing unified themes and subversive insight to the wider consciousness.
It’s no push to see and hear echoes at this level of grassroots, autonomous agency and concerted organization in early 90s UR or in the way grime made its first, viral moves in the mid ’00s.
We invite your live booking enquiries for one of the most thrilling, uncompromising, visionary artists of recent times.
Europe, UK, Asia, Australia, South America: email@example.com
A fiercely competent young DJ who blows away any room she plays, Cõvco is by far one of London’s most original and exciting DJs. Her sets combine a hi-energy mix of footwork edits and experimental dance music which often result in a frenzied dance floor experience. With recent explosive sets at the likes of London’s Tropical Waste parties and after party for the PAN ICA show, as well as a much anticipated set supporting RP BOO in London, Cõvco has an exciting year ahead.
Europe, UK, Asia, Australia: firstname.lastname@example.org
FKA Scratcha DVA, the Hyperdub associate Leon Smart brings his newest DVA [Hi:Emotions] avatar to Annex, following the release of his most narrative-driven record to-date – NOTU_URONLINEU.
A dystopian tale of humanity ruled by a universal mega corporation in a branded virtual reality, DVA’s speculative sonic fiction obscures the previously blurred edges of grime, house and UK funky even more – as Laurent Fintoni puts it in this FACT feature, the album is a “gripping meditation on humankind’s embrace of machines and the fluidity of identity in the digital age.”DVA brings his own brand of altered reality to live presentation in collaboration with visual artist Roca, in an immersive, visceral AV show – get a taste of it with this NTS produced video.
Equiknoxx ft. Shanique Marie
Equiknoxx Music a production outfit from Kingston, Jamaica. Operating more than (10) years. They have worked with artistes such as Aidonia, Beenie Man, Masicka, Spice et al. In July 2016 they have released their debut album, “Bird Sound Power” parsed and pieced together by Jon K & Demdike Stare, and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime “livicated” supporter), it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design. Their second album “Colón Man” was released in 2017 also on DDS. Equiknoxx travel as Gavsborg, Time Cow, vocalist Shanique Marie and sometimes Bobby Blackbird.
Berlin’s Errorsmith has been a respected figure in Germany’s club scene since the mid ‘90s. Through his own releases and his collaborations as part of MMM (with Berghain resident Fiedel) and Smith n Hack (with Soundstream/Soundhack), Errorsmith plays with the boundaries of dance music genres for an openness leading to new rhythmic and sonic shapes. Rooted in the club, his music is crafted with an ear for experimentalism, making for some deliciously intriguing physicality. His DJ mixes share a similar philosophy, disregarding genre norms in favour of body-moving eclectic musicality. Renowned for his popular synthesizer plug-in Razor, developed for Native Instruments, his self-built software instruments form the basis of both his productions and live sets. His collaborative 12” with Mark Fell via the PAN label was a popular release in 2015, listed in many end of year charts. A new live set debuted at Unsound festival 2016, which was one of the “Five key performances“ for Resident Advisor. Some 20 years into his career, 2017 sees the release of the long awaited ‘Superlative Fatigue’ album on PAN.
Roc Jiménez de Cisneros and Stephen Sharp make computer music for hooligans and deconstructed rave objects. Their music has been published on record labels like Entr’acte, Editions Mego, Presto!?, fals.ch or their very own ALKU, and showcased at festivals, clubs, galleries and museums throughout the world. EVOL recordings, installations and performances have a unique approach to sound matter, full of upward spirals, trance inducing patterns and challenging temporal structures.
Recent works include the LP “Proper Headshrinker”, published by Editions Mego, “Something Inflatable”, released on ALKU, a classic acid mix for iDEAL, and cassettes for Last Foundation and Sludge Tapes. They are currently working on stuff for Diagonal, Presto!?, BUS, Romvos, and Khalija.
Helena Hauff is a DJ and producer from Hamburg, Germany, where she runs a club night called Birds and Other Instruments at the Golden Pudel Club. Helena’s sound as a DJ can’t be nailed down as she cuts between genres with ease. Dirty Acid, Chicago, Electro and Wave mixed in an obsessive way, as you can hear on Blackest Ever Black’s sub label Krokodilo Tapes, where she released a limited edition mix tape, ‘Obscure Object’.
As a producer this obsessive nature comes across in the intensity of her music. This can be seen in her releases that have been on Actress’s Werkdiscs imprint, and Bunker offshoot, Panzerkreuz. In addition, she is half of ‘Black Sites’ along with F#X, who have also seen a release on Panzerkreuz as well as PAN
JASSS (S. Jiménez Alvarez) is a sound artist and producer raised on the Northern coast of Spain.
Her parents were passionate about jazz, African and South American rhythms, which became
some of the most formative influences in her life.
From an early age, her fascination with sound drove her pursuit of understanding the relationship
between music and people. She left Spain to launch this endeavor, leaving behind a social and
cultural landscape from which she felt increasingly alienated. Feeling fractured in focus, she
began shaping a theme from the distractions, channeling it into new works.
The punk and hardcore roots of her youth evolved into a deep plunge in industrial, dub and
experimental music—worlds of sound that were evocative in mystifying, inaccessible ways. After
moving to the Netherlands in 2010, she began editing field recordings and probing the worlds of
electronic music and soundscapes. She moved a year later to Berlin, where she scored several
In 2015 she made her first appearance as a DJ with a distinct, eclectic style that would become
her signature approach. After a few years of studio work, her first 12 inch, Caja Negra EP, was
released on the American label Anunnaki Cartel. Her second record, Mother, was released that
same year on the Italian label Mannequin Records, followed by Es Complicado, on the same
label. These days, she is focused on the experimentation of sound and spaces, working on
several projects including electroacoustic pieces, live, and audiovisual performances. Her first
solo album, Weightless, will be released in 2017 on the Swedish label iDEAL Recordings.
Kamixlo’s music lies at the riveting, emergent edge of grime, reggateon and experimental bass dimensions. The London-located producer’s Demonico EP with Visionist’s Codes X Pan marked out bold, unique new territory between established poles, a sound which he’s key in fostering at the Bala Club events and with his NTS show, which will soon be showcased on the forthcoming Bala Club compilation + a second solo EP.
At the crux of new club movements lead by pan-latin diaspora artists, Kamixlo’s music been compared and aligned with Berlin’s boundary-pushing Janus Club sound, who in early 2016 shared a 2 room event with Bala Club at Corsica Studios feat. M.E.S.H., Total Freedom b2b Sami Baha, Uli K, Chino Amobi and Nkisi, a.o.
Worldwide except Asia: email@example.com
Keith Fullerton Whitman
Keith Fullerton Whitman is a musician currently based in Cambridge, MA. Starting in the mid-1990’s while working on a “Music Synthesis” Degree at Boston’s Berklee College of Music, Keith began exploring electronic music’s many facets, eventually yielding dozens of full length albums, singles, remixes, and compilation appearances for influential labels such as Kranky, Editions Mego, PAN, Planet µ, Carpark, Room40, Amethyst Sunset, Amish, NNA Tapes, No Fun Productions, Agents of Chaos, Arbor, Digitalis Limited, Ekhein, Heavy Tapes, Rare Youth, Root Strata, and many more.
These days his creative energies are largely put into the continued development of a truly “Live Electronic Music,” incorporating an ever-changing hardware-based modular system that allows for a complexity of sound & vision that had previously only been available via software-solutions. While this work has recently manifested itself as a pair of albums for Editions Mego entitled “Generators” & “Occlusions,” it’s largely intended for the stage.
Over the past 15 years, Keith has given over 500 performances of his music – everything from solemn held-tones to pointillist reckless-abandon – at venues ranging from “Punk” basements to some of the most celebrated European & North-American festival stages such as Akousma, CTM, Dissonanze, Electronica En Abril, Kontraste, LUFF, Mutek, Novas Frequencias, Présences Électroniques, Skanu Mesz, Sonic Acts, Suoni Per Il Popolo, Unsound, Werkleitz, etc. In addition, he has given dozens of talks, taken part in Colloquia, set up fIlm & audio installations, and organized music festivals, concerts for other performers, and film events in the Boston area & beyond.
He has collaborated both on stage and on record with Oren Ambarchi, Rhys Chatham, Tony Conrad, Greg Davis, Deerhunter, JD Emmanuel, Lawrence English, Mark Fell, David Grubbs, Michael Karoli & Malcolm Mooney (Can), Eli Keszler, Felix Kubin, Alan Licht, Matmos, Geoff Mullen, Benjamin Nelson, Charlemagne Palestine, Terry Riley, Ben Vida, and countless others. He is also known for his performances and realizations of works by composers such as Phill Niblock, Dick Raaijmakers and Conrad Schnitzler. He has composed for dance, and his music has been set to motion by choreographers & dance ensembles including Chantal Yzermans (at the Merce Cunningham Dance Studio,) the Andersson Dance Company, and the NYU New Music and Dance Ensemble. He has supplied music and sound-design for several video game & “music for picture” projects, advertisements, and assorted environments.
A 2011 joint commission from Sonic Acts, Kontraste Krems, and Le Groupe de Recherches Musicales (GRM) led to a week-long session in the fabled INA-GRM studios in Paris, during which Keith realized a life-long dream, completing an 80-channel, long-form Musique Concrète work entitled “Rythmes Naturels” utilizing many of the idiosyncratic early-electronic instruments held in the studio’s archive.
Since 2003, in his spare time, he has helmed a highly specialized experimental-music distribution company out of his studio / office / work-space in Porter Square, Cambridge, MA named “Mimaroglu Music,” charged with helping labels & artists all over the world with the preparation & dispersion of their tangible music artifacts. Prior to this he was the Sales-Manager of noted New England distributor Forced Exposure, for whom he personally penned hundreds of “capsule” descriptions of catalogue new-arrivals – a tradition he keeps alive to this day with Mimaroglu.
South London based musician Klein is an artist who’s neoteric vision has seen her quickly become one of the UK’s most intriguing and unpinnable producers and performers.
‘While she may borrow from R&B and pop, Klein’s output has more in common with the abstract impressionism of Jackson Pollock. Such intensity makes Tommy a difficult and even exhausting listen, despite a running time of just 25 minutes. But as Captain Beefheartand the Shaggs have shown in the past – and as Klein demonstrates now -stepping off the musical path that leads to standardized perfection can prove hugely rewarding’ PITCHFORK
Using notoriously erratic audio editing software Audacity as a canvas for cut-up, pitch-shifted, and contorted cell phone recordings of her own voice, piano, and guitar playing, quotidian sounds, and samples from childhood Nigerian B movies, Klein’s playfully brooding assemblages seem to creak under their maximalist weight, their own construction made brazenly audible.
‘What she accomplishes with her sonic molding — her way of “placing” sounds and melodies together that would be traditionally incompatible — is to express a multitude of emotions simultaneously’ — FADER
Her techniques echo the idioms of musique concrète and industrial music—with crude, static loops and busted glitches that resist pop convention—but, Klein insists, her influences and ambitions lie with gospel, Pavarotti, the musical theater of Andrew Lloyd Webber, and the R&B of Brandy and Rodney “Darkchild” Jerkins rather than the staid institution of orthodox experimental music.
Her propensity for an ebullient postmodern opera has recently found life in the form of musicals. The most recent, Care, a coming-of-age fantasy set in a care home, was directed and scored by Klein and performed at London’s ICA in January 2018.
‘At times it is chaotic, an emotional expression of her personal fusion of R&B and hip hop. At first listen, we’re fed so many different ideas and concepts that the motifs can be hard to parse. Then after a good few listens, and after coupling the music with visuals from Klein’s YouTube channel and on her Instagram profile, we’re left with artistry that is utterly unique, both conceptually and artistically’ THE QUIETUS
Following some ear-catching manoeuvres across earlier releases, her Hyperdub released EP ‘Tommy’ marks Klein’s deepest plunge yet into the ‘deep, dark ocean’ of her musical imagination.
‘cc, Klein’s third EP, sees her step away from this role-playing in favor of something more personal: Klein calls cc a “come-of-age record, with the classic teenage spirals,” that was “written about myself to myself.” What emerges is a hugely poignant work that explores the emotional depths of life, death, and growing up.’ PITCHFORK
Larry B is a producer, Dj and songwriter based in South London.
“A lynchpin of the London club scene, he is celebrated for his fiercely original mixes” – id
“A singer in a playground full of rappers is a fitting image for a guy who’s unfazed by his surroundings, and even now, Larry’s music makes you do a double take.” – dazed
“DIY rnb ‘5 Sad Songs’ is straight-up heart-wrenching songwriting and the best music that Larry, in between DJ gigs across the capital’s underground, has produced yet. – mixmag
Lee Gamble is a producer and DJ of exploratory electronic/dance music, and owner of the UIQ label. From roots as a teenage DJ rinsing state-of-the-art jungle on pirate radio, Lee explored the mechanics and dimensions of computer music, avant composition and noise in the ’00s with a series of abstract, sculptural releases and live improvisational and multichannel presentations.
Subsequently, he tracked back to the floor from an oblique angle with the ambient-techno / jungle deconstructions of a series of defining releases for PAN – Diversions 1994-1996, Dutch Tvashar Plumes, Koch and Kuang, followed by a 12” for his newly minted UIQ label – Chain Kinematics.
On Mnestic Pressure, Lee’s first album with Hyperdub, signals from elsewhere that echoed through his previous releases – signals from the unconscious, sub-aqua, hallucinated, dreamt – are decoded into a terra interpretation.
Mnestic Pressure is an exposition of individually and collectively pressured memory, musically articulated in a series of elegiac melodic movements, punctuated with swerving beat structures and and shrill pitch manouevers. Stylistic motion twists and genre bending mixes are reminiscent of Lee’s dynamic DJing style.
Lee has toured extensively over four continents, playing solo and with visual collaborator Dave Gaskarth, performing their cartographic A/V show Foldings, as well as regularly DJing.
Lee has been commissioned by Shiva Feshareki and the London Contemporary Orchestra to compose two acoustic pieces to be premiered at one of Peak District’s caves in September 2017 alongside the first performance of Éliane Radigue’s latest composition.
Lee hosts a monthly NTS radio show.
Logos is another pillar of London’s Boxed prism, as well as a celebrated solo producer/DJ, and is also known as 1/3 of the cyberpunk-inspired trio))) The Sprawl, alongside Shapednoise and Mumdance, with whom he runs the Different Circles label and club events.
Across releases for Keysound Recordings, Tectonic, Glacial Sound and his own label, Logos’ productions persistently recall the lush sci-fi darkness and space of late ’90s Metalheadz and Reinforced records, whist isolating and augmenting the mechanics of esque-y instrumental grime and early, ‘ardcore rave in a style he aptly terms Weightless.
In 2016 we hold hopes for a follow-up to the below-kelvin cinematic sound designs of his modern classic Cold Mission (2013) album and the rugged rollers of last year’s Proto collab with Mumdance. Whilst we can confirm or deny nothing at this stage, it’s safe to say that new material is necessary, if not in-progress already for Different Circles, following more recent remixes of M.E.S.H and Mr. Mitch.
Europe, UK, Asia, Australia: firstname.lastname@example.org
As a co-resident of Berlin club night Janus, M.E.S.H. has been constantly active bringing fragmented rhythms to the dancefloor on PAN EPs such as Scythians and Damaged Merc, and building oblique, theatrical sound-stages on longer works such as Piteous Gate. Violent cinematic effects enshroud ornate, virtual-acoustic instrumentation, with an eerie calm ebbing beneath the flux. On new album Hesaitix the atmosphere has shifted; the radical deconstruction of previous releases has given way to subtler interventions, building new structures in the territories where the unconscious and the alien intersect.
Photo: Nadine Fraczkowski
Europe, UK, Asia, Australia: email@example.com
Mark Fell is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing”. As well as recorded works Fell produces installation pieces often using multiple speaker systems. Although well versed in the use of ambisonics, his work in this area is characterised by ‘non-illusion based’ approaches where multiple waveshapes are spatially distributed to form complex synthetic sonic environments. The diversity and importance of Fell’s practice is reflected in the range and scale of international institutions that present his work – from large super clubs such as Berghain (Berlin), to Hong Kong National Film archive and many others. Fell has received commissions from prestigious institutions including Francesca Von Habsburg’s Thyssen-Bornemisza Art Contemporary (Vienna) with a premier at Seville Biennale of Art, and the National Ballet of Madrid have performed to his works. He has been recognised by ARS Electronica (Linz) with an Honorary mention in the digital musics category, and was shortlisted for the Quartz award for his contribution to research in digital music. In addition to his creative practice Fell has been involved in a number of academic research projects ranging from computer science to musicology, and as a curator Fell is widely recognised for his contribution to the development of experimental electronic music in Europe.
As co-founder of NON Worldwide, whose raison d’etre is described as “a collective of African artists and of the diaspora, using sound as their primary media, to articulate the visible and invisible structures that create binaries in society, and in turn distribute power”, Nkisi’s ethos and music is imbued with a certain punk sensibility along with a political push back against conformity. Her DJ sets draw from a wide range of influenced forming a fast paced and exhilarating experience in the dance. Her production reflects deeply in these influences also and provide a sound that is equally relentless and evocative.
Europe, UK, Asia, Australia: firstname.lastname@example.org
okzharp & manthe ribane
OKZHARP is a musician/producer and dj/performer based in South London, UK but originally from Cape Town, South Africa. As 1-third of LV, Okzharp released 2 full-length albums. ‘Routes’ was released in 2011 on Keysound, their second collaboration with writer/vocalist Joshua Idehen after the ’38 EP’ in 2010. Then in 2012 ‘Sebenza’ was released on Hyperdub. It was made in collaboration with South African vocalists OkmalumKoolkat, Spoek Mathambo and Ruffest. Lead track ‘Sebenza’ was released as a single, featuring a remix by DJ Clock. He has created film soundtracks, audio installations and jingles. He has collaborated with Zaki Ibrahim, Errol Bellot, Dandelion, Quarta 330, Zomby, Untold, Yungun, Pinch, Micachu, Das Kapital, Trim and Mumdance, releasing music on labels Hyperdub, Keysound, Souljazz, 2nd Drop and Hemlock. It’s pronounced ‘Ok Sharp’.
MANTHE RIBANE is a Soweto-born performance wunderkind who has been making a name for herself across the creative spectrum, working in film, music, dance and performance art. She toured the arenas of the world as part of the Die Antwoord live show. As a creative catalyst, Manthe has been a key member in some of South Africa’s contemporary movements, from the fashion/art squadron, The Smarteez back in 2006, to the dance/performance-art group V.I.N.T.A.G.E who won Best Dance Crew at the South African HipHop Awards 2014. Her latest initiative, Dear Ribane, is a collaboration with her siblings Tegebo and Kay Kay, as seen her travel to London, Paris and Geneva to engage in multimedia projects. She was recently awarded a ‘Young Inspiration’ award for her work by Red Bull South Africa. She works highly engaged with youth and female empowerment.
Known to many as one of Unsound’s resident DJs, Olivia has been one of the key figures of the Kraków club scene for the past 14 years.
The originator of the fabled Kraków club night – We Are Radar – conceived and orchestrated with her confrère Chino, Olivia remains fully committed to growing the local scene – as a member of the Radar collective, resident and main booker for Szpitalna 1 – Kraków’s leading underground club space, one half of DJ duo Chrono Bross.
Recenlty, together with collaborators Chino and Steffen Bennemann, Olivia has launched a hybrid live/DJ performance project Morskie Oko.
Her reputation has steadily amplified over the years thanks to her idiosyncratic track selection and excellent technical skills. Through raw and dark techno, liquid acid, deep cosmic reaches, the simplicity of electro and the warmth of house, her sets shine with originality and a strong belief in the sound she delivers.
She draws inspiration from both music and the world around her – from the future shock of Detroit techno, via the distinctive Dutch sound, ebm, industrial, cold wave, acid, electro, synth and house, through to the images and ideals of science fiction and technological progression. The infinity of space, the unfulfilled promises of robot designs and the unexplained mysteries of paranormal phenomena all inform her approach to music and her search for sound.
Palmistry is the project of London-based musician Benjy Keating. A vocalist and producer with a singular vision and voice, Palmistry makes hybridized pop music that is both distinctly new and yet, like the best songwriting, sounds instantly familiar. As the producer, writer and performer of his debut LP, PAGAN is a succinct showcase of his holistic approach to contemporary pop, where melancholy and euphoria share equal space and sonic decisions resonate as much as the emotions that run through it. Beyond the music, Palmistry gives us a multi-layered experience – working alongside talented collaborators to build his own visual world through artwork, photography and film.
“No elitism, no prejudices, no genre, hypnotic, tense, comprehensible, a state of mind”
Parrish Smith crafts a sound that’s both familiar and deeply inexplicable. Hovering between body music, electronica and deep-burning industrial yet rejecting the conventions of all three, his output is as elusive as it is absorbing. Inspired by personal experiences and his determination to keep evolving, Smith developed a distinctive sound derived from an all-analogue set-up, sampling every object that produces sound. His signature raw machine wrangling gained attention from Nina Kraviz who released his track ‘L’importance du Doute’ on her трип imprint, while the Dutch label Knekelhuis signed his debut EP: Virgin Of The World. Alongside Pankow and Helena Hauff , Smith contributed to a split EP on Contort Yourself and a 4 tracker on L.I.E.S. records. Together with vocalist Mark van de Maat, Smith produces as Volition Immanent. Parrish Smith believes electronic music is both for the body and the mind.
Europe, Asia & Australia: Laetitia@annexagency.co.uk
Ploy, the pseudonym of South London based artist Sam Smith, emerged onto the scene in 2016 with his debut release, ‘Sala One Five’ on the renowned Hessle Audio label, expertly followed up by a slew of EP’s finding residence on Batu’s Timedance imprint, the faction whom collectively carved out a unique sound in a shockingly short space of time, grounded in UK bassbin principles yet pushing that prism in wild, crooked new ways that have become something of a signature aesthetic..
Ploy’s unique sound has a place among modern electronic music’s most innovative, receiving remix treatment from the likes of Beatrice Dillon and Peder Mannerfelt.
As well as regularly performing in Europe’s top venues, having already mixed an Electronic Explorations podcast, held down multiple NTS shows and a week-long residency on Rinse FM, and Fact Mix most recently. 2018 sees a hefty release schedule, with the South Londoner continuing to strain the most challenging of dance floors and bassbins alike.
Rian Treanor re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.
Having left a vivid impression in 2015 with his debut 12″ ‘A Rational Tangle’ and his scintillating 2nd EP ‘Pattern Damage’ on The Death of Rave. In 2018 the Warp sub-label Arcola relaunch with his bold Contraposition 12” single.
His hexagonal and half-stepping bleep-bass mutations rewire hyper-chromatic UK garage and pointillist footwork, with 10/10 and album of the month reviews in MixMag, and is receiving plays by Bjork in her current DJ sets. At an unrelenting 150bpm his recent guest mix for Mumdance’s RinseFM show alongside RP Boo established Treanor as both a disruptive and essential new figure in British underground club music.
Recent live shows at GES-2 (RU), Irish Museum of Modern Art (IRL), Berghain (DE), OHM (DE), Cafe Oto (UK), Glasgow Centre for Contemporary Arts (UK), Empty Gallery (HK), Summerhall (UK) as well as taking part in artists residencies at yU+co[lab] in Hong Kong and with Counterflows in India 2016 – 2017.
“One of the UK’s most exciting new producers” – FACT
“…referencing Sheffield’s musical history while at the same time providing an entirely new direction.” – The Wire
“Treanor seems to love building intricate matchstick constructions and then knocking them down, and he does so expertly.” – RA
“lit by musical curiosity but still promise to take over your body – and dance music doesn’t get much better than that” – MixMag
Russell Haswell is a restlessly forward-thinking, genre-defying artist, performer and curator born in Coventry and currently based in London, England. With a background steeped in conceptual art, computer music, black metal, noise, techno, laser-graphics, free-stye and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts.
He’s performed in noted Live and or HDJ [hard disc jockey] collaborations with Aphex Twin, Gescom, DJ STINGRAY, PAIN JERK, Pan Sonic, Regis and Masami Akita (Merzbow), among others, and worked with Florian Hecker on Iannis Xenakis’ UPIC system in their “Haswell & Hecker” duo, whose ‘Blackest Ever Black’ (Warner Classics) LP is widely considered a milestone of modern electronic music composition. Russell’s recorded work has also been published by a wide number of esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 1997 – 2000′ (Honourable Mention, Digital Music’s, Prix Ars Electronica) for Editions Mego, but also for Warp, Downwards, Bocian and his OR label, home to world’s first MiniDisc release. In 2016 Russell supported Autechre on a 30 date european tour, and started “Haswell studio Bleep store”, to release HI-RES digital recordings quickly, and has currently completed a forthcoming release for Powell’s Diagonal Records, his 5th release for the label.
Sam Kidel is the Customer Service Agent. As the Customer Service Agent, Kidel probes and reshapes Ambient Music, exploring its emotional and sensory effects and its relationship with capitalist production, as Muzak.
Kidel was formerly a member of the Young Echo collective (Young Echo Records, Ramp Recordings), which he co-founded, and Killing Sound (Blackest Ever Black). Since the age of 15, when he started making music with computers, Kidel — also operating under the moniker El Kid — has built up a diverse portfolio, including soundtracks for British and French TV documentaries, fashion shows, French painter Fabienne Verdier, the New York theatre world, and installations and performances from Glasgow and Geneva to Basel and Berlin.
As part of his current work with Ambient Music, Kidel has curated a conference at Oxford Brookes University titled The Politics of Ambience (with Terre Thaemlitz, David Toop, Nina Power and Chino Amobi amongst the contributors), created a mix for Thump (Vice) re- visiting archive recordings of Ambient Music parties of the early 1990’s, and released an acclaimed LP for Death of Rave, Disruptive Muzak.
Kidel completed a Masters in Composition and Sonic Art at Oxford Brookes in 2015 and now teaches at the British and Irish Modern Music Institute in Bristol.
Sensate Focus is a project by Sheffield-based artist and music producer Mark Fell, responding to the musical structures, techniques, vocabularies and sounds present in a collection of house musics produced in North America around 1992-1994.
Through a series of records (released in conjunction with Editions Mego) and “live” presentations, Sensate Focus addresses the division of music into repeatable patterns of observable and fixed duration; the placement of percussive events at specific points within patterns to demarcate distinct levels of temporal division; the organisation and repetition of patterns to form larger “arrangements”; and, strategies by which layers of instrumentation are introduced and removed.
For Fell this exercise necessarily implies a response to the technological structures, techniques and vocabularies present in equipment within which they are constituted, and their functionality within specific social contexts.
stellar om source
Stellar OM Source originated from Christelle Gualdi’s desire to unhinge from her academic musical upbringing. A double bassist in the Konigin Katharina Stift Schulorchester and a student of music theory at Université Paris VIII, Gualdi completed her studies in electro-acoustic composition at the Conservatoire de Paris after earning an architecture degree.
The process of Gualdi’s “unlearning” began in experimental ensemble settings, and it became more recognizable as she moved toward solo performance. Stellar OM Source’s name is fittingly inspired in part by the pathway to higher consciousness and cosmos via one’s own voice.
Gualdi was also inspired by – and also an integral member of – the late aughts DIY synthesizer community. Alongside Oneohtrix Point Never, Emeralds and James Ferraro, Stellar OM Source’s stream of self-released CDRs defined a zeitgeist of artists trending away from their noisy roots via polyphonic escapism.
Based many miles away from her US counterparts in The Hague, South Holland, Gualdi received a prophetic sign in 2010 when a regional eBay seller offered her a mint Roland TB-303 for a mere €25 – or $33. The instantly identifiable sounds of the analog bass synthesizer began appearing in Gualdi’s studio and live practices. More importantly, the pattern possibilities propelled Stellar OM Source toward its future foundation – a planet still floating in the synth universe, but orbiting light years away on a rhythmically revolving axis.
Gualdi’s latest interplanetary offering, Nite-Glo, sees her tempering the freneticism unleased on 2013’s Joy One Mile and its offspring 12” Elite Excel. Recorded solely with live hardware, this limited edition 12” highlights the emotive and mediative potential of combining synths and 303 lines within more a more spacious field. Forming the next chapter in Gualdi’s unfurling story, Nite-Glo is a snapshot of the artist’s personal and creative transition / transformation.
Szare were formed during a game of darts at the Royal Oak pub in South Manchester. With the first transmission coming via a Horizontal Ground white label in 2009 under the 220.127.116.11.5 pseudonym, and have since released music under the Szare moniker through Frozen Border, Idle Hands, Field Records, Project 13, among others. They make techno which is strongly influenced by the pub scene in Lancashire and North Derbyshire, though have occasionally dabbled with a more Staffordshire-inspired sound. The enigmatic bass-techno hybrid is gearing up to release some of it’s most ambiguous and definitive works thus far, with news of an EP in place on Mumdance & Logos Different Circles imprint. Late last year saw an appearance on Tommy 47’s eponymous 47 labels most recent compilation; 47007, following up from an EP for Delsin’s off-shoot imprint Field recordings, alongside a slew of live dates and DJ shows across the EU.
Availability for live bookings, and DJ sets on request.
Europe, Asia & Australia: Laetitia@annexagency.co.uk
William Gibson’s uncannily prophetic novel, Neuromancer, was the 1st in a set collectively known as The Sprawl. The same term also refers to a fictional Megatropolis covering the entire Eastern US seaboard in the books, and was also the title of a staggering, standout track on Mumdance’s pivotal Take Time EP.
The Sprawl is now also a noun for Logos, Mumdance and Shapednoise’s new collaborative trio, which was first conceived at Berlin’s CTM15 festival. They made their recorded debut with EP1, released in November 2015, of a rolling series to be archived by The Death of Rave.
Jack Adams aka Mumdance has been busy restructuring the DNA of grime and UK bass stylings for years now. Following early success with heavy-hitting low-end mutants, he revamped his style and started from scratch, using predominantly analogue gear for his own productions. In 2014, Mumdance and Logos founded Different Circles, a label dedicated to the future sounds of grime and the genre’s interfaces with bordering aesthetics borrowed from ambient to techno.
Logos is best known as a producer and DJ in his own right, and possibly the first to explore the disembodied, ‘weightless’ style of grime on his debut LP Cold Missionon Keysound Recordings. Alongside Slackk, Oil Gang and Mr. Mitch he is also one of the heads behind the seminal instrumental grime night Boxed.
Berlin via Palermo’s experimental techno auteur Shapednoise has made a name for himself by pairing eerie ambience in the tradition of the Italian horror score with industrial leanings on labels like Opal Tapes, Dominick Fernow’s Hospital Productions and his own Repitch Records.
Europe, UK, Asia, Australia: email@example.com
v1984, the Glacial Industries affiliate whose most recent release, ‘Becoming (N)one’, saw him provide what RA describes as “doom-laden bass” with “luminous melodies”, bringing to the table a devastatingly beautiful take on increasingly saturated genre most notably with the almost constant presence of the piano.
It is the piano that will form an integral part of his yet to be premiered live show, slated to be debuted in the first part of 2017 in conjunction with an EP to be released on a crucial label.
v1984 DJ sets encompass club workouts, instrumental obscurities and his now infamous edits, which have garnered widespread attention, both in the club and on radio.
Europe, UK, Asia, Australia: firstname.lastname@example.org
Veronica Vasicka is a photographer, musician, DJ and founder of the epic record label and on-line music resource Minimal Wave. As one of the founding members of East Village Radio, she managed the station during its pirate days and began collecting obscure and long forgotten gems that fell somewhere between the Cold Wave, Post-Punk, Industrial and Synth-pop genres.
Not knowing what to classify these bands as, she coined the genre Minimal Wave and set up the website minimalwave.com as an online resource to share her finds with the rest of the world.
The response to the website was huge and shortly after its launch, Veronica began tracking these artists down and re-issuing their work on the Minimal Wave label. Most of these bands recorded extremely limited copies of their work in their basements and shared their work with the world via John Peel’s radio show and a handful of underground music mailings. The music released on the label ranges stripped down, D.I.Y. synth-pop to pioneering industrial electronics.
In addition to running Minimal Wave, Veronica launched the Cititrax label as way to expose newer synth-based acts. She DJs monthly in her hometown, New York City, and around the world, as well as every Sunday from 6-8pm ET on her East Village Radio show Minimal Wave.
She has released over 50 albums now, amongst them were two highly lauded compilations: The Minimal Wave Tapes: Volumes 1 and 2 which were picked up, released and distributed by Stones Throw Records.
Veronica’s DJ sets range from raw, danceable industrial electronic to cold wave fused with mutant house and underground techno. She likes to tell a story when spinning and to teach the crowd about the roots of electronic music. She has a fantastic talent for synthesizing her influences into an unforgettable night of dancing.
Europe, UK, Asia, Australia: email@example.com
At the crossroads where man meets machine stands Volition Immanent, a two-man band intent on delivering highly personal live performances that shock, inspire and amaze in equal measure.
Since first joining forces in 2014, hardware freak Parrish Smith and former punk activist Mark van de Maat (founder of Amsterdam’s admirable Knekelhuis label) have earned a reputation for delivering the kind of incendiary live shows that were once the preserve of British multi-media mavericks such as Cabaret Voltaire and Throbbing Gristle.
With Smith working a range of hardware gear – three drum machines, two samplers, outboard effects units and a range of vintage synths – and van de Maat adding forthright vocals, the duo has struck up a rapport with live audiences across Europe and beyond. Mutilating and manipulating their songs on the fly, Volition Immanent takes no prisoners in pursuit of artistic expression.
March 2018, they released their debut album, following the MIND records 7” and occasional contributions to compilations on Knekelhuis and Contort Yourself. This will put Volition Immanent’s instinctive, do-it-yourself approach to music-making and performance centre stage, offering an insight into their intoxicating brand of no-holds-barred intensity.
Europe, Asia & Australia: Laetitia@annexagency.co.uk
ZULI is Ahmed El Ghazoly – a multi-instrumentalist, producer and sound artist from Cairo, Egypt – co-founder of VENT, a music-space-turned-club-night in Cairo with a sister night and record label based in London. ZULI has been a prominent figure in Egypt’s independent music scene for almost a decade now, with production credits that span from Post-Punk and Shoegaze to Hiphop and Techno.
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